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Using the story of four young brothers as a magnifying lens, in "The Fishermen" Chigozie Obioma delves into the ways in which belief can build the deepest of bonds, only to eviscerate them in an instant.
Kevin J. Friel and Anna Kim examine a variety of approaches to the comedy music genre.
Despite the novelty of Lelaina E. Vogel ’15's "Hamlet," its success was based on elements it might have shared with any other production. Certainly, the trappings and accoutrements of a show are significant, but, in this case, it was the cast who ultimately made the performance.
“GHOST,” which ran April 9–12 in the Adams Pool Theater, put great trust in its audience’s capacity for reflection; the play was a balancing act of drama and comedy executed, for the most part, gracefully and skillfully.
Jude D. Russo loves "Blade Runner." Find out why in this installment of the semi-regular series "From the Vaults."
While the Harvard-Radcliffe Orchestra has undergone some major shifts in the past couple of years, most prominently with respect to its grading system, its members and director remain united in their commitment to success. Since 2009, HRO Director Federico Cortese has worked toward an ambitious goal: to create the best liberal arts orchestra in the country.
When Adler’s writing coheres into something merciless yet moral, centrist yet radical, it soars. “After the Tall Timber” is almost always an absorbing, enlivening read.
Bulgarian writer Georgi Gospodinov’s “The Physics of Sorrow” unites formal experimentation with emotional resonance in a compelling exploration of how and why humans tell stories.
"Past Habitual" might have been much more successful had MacLochlainn resigned himself to simpler goals. Clean style and thematic impact are undervalued here, and the result is an interesting but rather muddled product.